When Wanda bought the house, she didn’t imagine that anyone in the community would recognize that she and Lynn were queer.
The baby had come from a place none of us could remember. Our grandmother was headed there.
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When Wanda bought the house, she didn’t imagine that anyone in the community would recognize that she and Lynn were queer.
The baby had come from a place none of us could remember. Our grandmother was headed there.
The author of Mother of God discusses the limitations of realism, Frank Bidart, and the anguished duality of shame.
Standing in the wreckage of these spaces unlocks a sensation people often crave, but can’t name.
It’s an imagined past, a pastoral imaginary, an alternate timeline in the multiverse.
The author of Woman No. 17 on unreliable narrators, interiors both personal and domestic, and leaning in to where a book is trying to take you.
"It reminded me of a dream I’d had where a shark circled my chest hungrily and I felt relieved."
My father's stories come from a career behind the bar of New York's oldest pub, among the alcoholics and loners and deviants who became his people and helped him find his voice as a writer.
A wide-ranging conversation with the journalist and author about David Foster Wallace, complicated relationships with writers you love, and how the Kardashians are like St. Elsewhere.
The new TV adaptation of The Handmaid's Tale, which centers on silenced women, is in a unique position to use aural components to convey the horror of dystopia.
The author of One Day We'll All Be Dead and None Of This Will Matter on the challenges of writing, the politics of meanness, and the enduring legacy of the Indi-McSpicy.